Referring to FIGS. 1-3, certain parts of conventional stringed musical instruments which are relevant to the present invention are shown. As shown in FIG. 1, conventional stringed musical instruments are typically equipped with a neck or fingerboard 2 which is used to control the length, and therefore the vibrational frequency of the string 4 being plucked, strummed, bowed, or otherwise activated. The fingerboard 2 may be attached to a resonant box 7. The string 4 is attached to the fingerboard 2 at the hitch pin 3 and its tension is controlled by the tuning peg 5. The string 4 is tensioned between two stops, the nut 6 and the saddle 8. The string 4 is normally activated by plucking with the right hand close to the saddle 8, while the left hand presses the string 4 against the fingerboard 2 near the end terminated by the nut 6.
In the conventional fretted stringed musical instrument, the string length is achieved through the fingers of the left hand pressing down on pieces of wire, the fret 10, imbedded in slots in the fingerboard 2. The string 4, being pressed against the hard surface of the fret 10 and thereby bent (as shown by dashed line 12), is effectively shortened by the amount of distance 14 of the fret 10 to the saddle 8, which defines the effective vibrating length of the string 4, thus altering its pitch (or `frequency of vibration`).
As shown in FIG. 2, representations of typical frets 10 are shown, enlarged for clarity, with respect to the fingerboard 2. In conventional fretted stringed instruments, these frets 10 are wires of a general "T" cross-sectional shape, with the vertical base or tang 16 equipped with barbs 18 and the horizontal top or "crown" 20 being a more or less hemispherical shape, as shown in FIG. 3. The tang 16 is pressed into an imbedding slot 24 cut into the fingerboard 2, where the tang's barbs 18 imbed into the walls of the imbedding slot 24, firmly fixing the fret 10 within the fingerboard 2. The domed crown 20 is thus seated against the surface of the fingerboard 2, where its hemispherical cross-section produces a convenient "curb" against which the string 4 can be firmly and comfortably pressed by the fingers of the player's hand.
These frets 10 as shown in FIGS. 2 and 3 are firmly fixed so that their function can be reliable. They are removed only with great difficulty when they are so worn by use that they must be replaced with new frets in order to play the instrument accurately and precisely. Removal of the frets is difficult because the barbs 18 tear through the wood of the fingerboard 2. Before the frets 10 can be replaced, the wood of the fingerboard 2 needs to be repaired. When the frets 10 are replaced, they typically need to be glued in which makes the next replacement procedure even more difficult. This refretting operation can easily cost over $150, takes a skilled instrument maker, and is time consuming. In addition, because the frets 10 are essentially immovable without time, repair, and expense, they cannot be removed and replaced at the fancy of a musician desiring to experiment with different implementations.
A typical dulcimer instrument is shown in FIG. 4. The fingerboard 2 of FIG. 1 is installed upon resonant box 7. Three strings 4 are shown, first string 201, second string 202, and third string 203, although more or less strings may be utilized. The resonant box 7 is provided with sound holes 206 and a peg head 208 supports the tuning pegs 5. The fingerboard 2 is provided an indent called a strum hollow 210 which is located towards the end defined by the saddle or bridge 8. The length defined by the location of the bridge 8 and the nut 6 is the string vibrating length 212. The effective vibrating length of a string is shortened when a string is pressed against the hard surface of a fret, as shown by length 14 in FIG. 1. The dulcimer of FIG. 4 is shown occupied by a number of frets 10. As the positioning of most frets are standard, a detailed discussion will not be provided. FIG. 4 is shown with an "extra fret" 214 installed at the 61/2 position. The installation of "extra frets" has been a much debated subject. Frets have only previously been able to be installed on a substantially permanent basis, and removal of these frets would require significant repair of the fingerboard, costing the musician a significant amount of time and money. The dulcimer is a diatonic instrument, unique in American music. Yet a musician often wants to play something with sharps or flats which can't be reached easily. If the diatonic fretboard is populated with more and more "extra frets" there is risk of losing contact with the charm of the modal music so natural to the dulcimer.
Thus, there is a need for a replaceable fret which can be removed and replaced by the musician himself. There is further the need for a fingerboard which can accept an easily replaceable fret. There is also the need for a fingerboard which affords a musician greater flexibility with experimentation by allowing him or her to easily replace, remove, and/or interchange frets in different locations. There is also the need for a fingerboard which can easily accept different types of frets without permanently changing the instrument.